AllenLowe

she has good hands

I just wanted to announce that: The winner of the Kenny G Tenor Saxophone is Chelsea from Hawaii

I remember hearing a post-'80s trio record of his that was supposed to be a "real" jazz album; very Cole-ish, but just full of cliches and empty gestures. That's when I realized that it's not always so easy to go back, once one has left the land of quality. that's why I gave up on that series of Kenny G tributes I was planning.

I always remembered, from his piano book, a version of Over the Rainbow that my mother used to play - it was harmoncally amazing, though I know now that there was a strong Bud Powell influence. Still, I'd llike to hear it again, if there are any pianists out there who own it.

LSD

I love Ella, but like with most singers I cannot listen for more than about 10 minutes. don't know what it is.

funny, the piano tuning didn't bother me, I just thought that Jordan played exceptionally well. Even Hank held my interest - there was something in the ideas that showed clearly what he was going for, even if he couldn't make it. I remember when Hank was booked at the Tin Palace, maybe mid-late '70s, with Barry Harris. Everybody showed up except for Hank.

Shearing, in my opinion , is/was one of those guys who could play great but forgot how to because he spent so many years half-playing, if you know what I mean, I heard him at Newport in 1976 or so, and he played one of the most gorgeous, re-harmonized versions of Django that I have ever heard, plus some other terrific things - but since then I've tried to find something that sounded like that day, but have come up empty. He's a chordal master, and I have heard him do some nice, Nat Cole-like lines, but it never, to me, holds together for long enough. My mother used to play from Shearing's piano book, and it was there that I realized how harmonically advanced he was, a little bit Bud and a little bit Tristano, but very original. I find him very frustrating to listen to.

fascinating clip - I used to go to the Angry Squire a lot in the late '70s, early '80s (Al Haig's last gig was there, as a matter of fact). Barry Harris used to work there a lot (they had an upright which didn't sound too bad). With Hank one can hear that the spirit is willing, and the ideas are fighting to get out, though the chops are suffering. Duke Jordan is one of my favorite pianists ever; I didn't know he came back to town in the '80s, I knew him in the middle '70s when he was living in St. Albans, a middle class black section of Queens, where Lester Young had also lived. do you know who else is in the rhythm section?

looks like I'll be in Chicago sometime in 2011 to perform with Josh Berman, around my blues project, if arrangements can be made. Probably some time after the Spring, I hope. In addition to performing I would be interested in doing some talks/lectures and was wondering if anyone could suggest institutions/non-profits for which I might be able to put something together in the realm of lecture/performance, or even just a lecture.

this is in response to a recent thread on late Bud; this is a Japanese CD for which I did some remastering, though the label has since folded. I have plenty of copies, however, and I do think this is some of the best late Powell. it's from 1962 and the tracks are: 1. Anthropology 7. 'Round Midnight 2. I Remember Clifford 8. How High The Moon 3. Confirmation 9. Bean and the Boys 4. Just One Of Those Things 10. Billie's Bounce 5. Woody 'N You 11. Evidence 6. All God's Children Got Rhythm 12. Blues in the Closet I will sell for $5 shipped in the USA ($10 to Europe) my paypal is alowe5@maine.rr.com

that's ok, I know many jazz musicians who have played while comatose.

there's an interview with Ralph Bass in some book in which he explains about the bandage, but I'm not sure what book it is.

well, if he played it while in a coma, I will be the first one to purchase it.

thanks, Larry, for the Krim link. Also, did you mean the last sentence of the actual review, or of the Post Script?

ahh, leave those Twats alone. I've heard Bird and Sonny Rollins do that on ballads.

well, Prez was so pervasive - my favorite musical moment: Dave Schildkraut, New Haven, 1978, on tenor. Plays a little classic (late) Prez phrase, like on those live dates that have been bootlegged everywhere - both Bill Triglia, on piano, and Curley Russell (in the audience) exclaim, at virtually the same time, "yeah!" it was like a family reunion. (and this a few months after Dave called me up, playing one of those Prez records over the phone, and told me "this is where I went to college."

hey Chris, you got pictures?

recorded by Ralph Bass, a smart fellow. also, notice the bandage on her hand. Can't remember how she hurt it.

I should mention the Lausanne concert, one version of which I mastered for a Japanese company of what turned out to be dubious ownership, let us say. I still have several hundred copies that they sent me, and it happens to be one of the best late Bud things I've heard. If anybody wants a copy, I'll sell it for cost ($5 shipped).

interesting, because I recently listened to that stuff, and thought about how well McLin played - and thinking now that it was probably Von, makes it even more interesting.

never mind is that JR Taylor who used to do stuff for the Smithsonian?

just a correction - the sound was done by Doug Pomeroy, not Herb.

just got an email from her - she basically says it will be a while before she can even begin to think about replacing it. Unfortunate.

I like Moms - he always says the stuff I don't wanna say because I'm trying to stay out of trouble here. I'm really, let's face it, a born-again Organissimo-ite. Moms, on the other hand, is Malcolm X to my Martin Luther King (or maybe Jesus H. Christ; I'm feeling virtuous today) -